
Philip White
Electronic Music Foundation
presents
Saturday, June 4, 7:30pm
Greenwich House Music School
46 Barrow St.
New York, NY
Admission: Free
This event is made possible with public funds from the New York State Council on the Arts, a state agency. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
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Special support for this program has been provided by Jerome Foundation. Additional support has been provided by Meet The Composer's Cary New Music Performance Fund, Amphion Foundation, and several individuals.
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↓ Program
\ ..................................................................................................................................Philip White
For non-linear feedback system
R We Who R We.............................................................................................................Philip White
For electronics and voice
Ted Hearne, voice
Philip White
Philip White’s current performances focus on a non-linear feedback system with homemade circuits. Currrent projects include thenumber46, with chuck johnson with philip white and collaborations with Ted Hearne, Taylor Levine and Phil Stearns. He has performed with Toshimaru Nakamura, Gene Coleman, Kenta Nagai, ADACHI Tomomi, MV Carbon, Michael Schumacher and Nisi Jacobs.
Philip White will premier \ , a simple and slow work that phase modulates sine waves in the ultrasonic range, gradually producing sidebands at lower frequencies until reaching the sub sonic range, at which point the higher frequencies are rolled off until only the low tone remains.
R Who We R We is a collaboration between Philip White (electronics) and Ted Hearne (voice). It is a suite of short pieces, in which assertions of identity in pop music are deconstructed. In White's words, "We dissect songs by Michael Jackson, Ke$ha, Eminem and others, subjecting them to arbitrary processes applied to both lyrical and sonic elements. Measures are reordered, lyrics are alphabetized, the backup choir is given the solo mic; garbled lyrics become absurd poems couched in profundity, melodies from the processed text become vocal lines, those vocal lines become control voltages in a chaotic electronic feedback system; four-on-the-floor endures, autotune abounds."